A world of live music and culture in Turin is a network

The world of live music and culture in Turin is a network, with the aim of becoming an engine for social and cultural reconstruction and renewal. On the occasion of the Eurovision Song Contest, an open and shared dialogue is born with the institutions with the participation of the City Councilor of Culture Torino Rosanna Purchia together with Guido Cerrato from the Turin Chamber of Commerce with live clubs, clubs, companies, cooperatives, associations and festivals in the territory. activities contribute 365 days a year to make the area alive.

The Eurovision Song Contest actually puts the live music sector and show business at the center of the debate about our territory’s internationality and tourist attraction and liveliness. A unique opportunity to activate a new path to reflection and renewal of the sector, starting from the studies that emerged: it is estimated that only in the city of Turin after the pandemic has there been a decrease in live concerts of 40% compared to the pre-pandemic.


Among the qualified subjects who carry out studies in the cultural field to deliver them to the institutions, the Turin Chamber of Commerce presented, as at the meeting of the Media Center Casa Italia, an analysis of the music sector in Turin and Piedmont based on registered realities in the Chamber of Commerce. In 2021, 1,298 companies belonging to the music sector were registered in Piedmont (6.6% of the national figure), of which 715 (55%) were between Turin and the province. It is a particularly heterogeneous business substance where musical activities converge in the narrow sense, such as the manufacture and trade of instruments or sound recordings, and other more general activities, such as the management of event ticket sales or the management of theaters and concert halls.

It seems increasingly necessary to reduce the distances between institutions and private entities in order to decide to finally consider the added value of culture equal to the economic one, and to identify the cultural activity as a model for the industry of the future and as a possible driving force for tourist attraction in the city.

The aim is therefore to create a platform for comparison and joint co-planning to compare experiences, critical issues, but also opportunities among the sector’s operators, which can only arise from a common vision, to start over from the cultural and cultural sites. from cultural planning, not only as a social protection, but also and above all as an economic incentive and a tool for employment in the cultural field.

With the quote from the surrealist artist Maurits Cornelis Escher “My work is a game, a very serious game”, we want to represent the complexity and the artistic value of a sector, that of live music and culture, which rises and falls stairs for many years, without ever finding the house keys.

Overlapping and regulatory sediments, from local to national, are the legacy of decades that actually lead the sector to the spread of a potential that could instead be the engine of models for social and cultural rebuilding and regeneration.

Over two years of pandemic have helped to bring to the fore the criticalities that have already existed since time immemorial, but above all to create a disconnect between the culture defined as “institutional” and what the sector’s operators like to define as “widespread culture”. This enormous crisis has therefore caused significant damage to the sector, but has also contributed to a clear path for reflection, identification and approximation to future themes and to a great deal of solidarity between cultural actors who have been transformed into networks.

From these networks, we intend to start again, with a visionary drive based on the great awareness that there is a great deal of work to be done, and which requires a large dimension of listening on the part of the institutions. A prospective element of support for competencies and public / private advocacy for new experiences exploring innovation and the future of cultural production and dissemination needs to be developed. In this sense, research and experiments are the driving force behind a horizon of social proximity and cultural enterprise.

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